1st Chapter The books written by John Milton and the feelings in them

2^nd Chapter Biography of the author of Paradise Lost
2.1 Biography of the author of Paradise Lost
9 December 1608 – 8 November 1674) was an English poet and intellectual. His 1667 epic poem Paradise Lost, written in blank verse and including over ten chapters, was written in a time of immense religious flux and political upheaval. It addressed the fall of man, including the temptation of Adam and Eve by the fallen angel Satan and God's expulsion of them from the Garden of Eden. Paradise Lost elevated Milton's reputation as one of history's greatest poets.^[1][2] He also served as a civil servant for the Commonwealth of England under its Council of State and later under Oliver Cromwell.
Milton achieved fame and recognition during his lifetime, his celebrated Areopagitica (1644), written in condemnation of pre-publication censorship, is among history's most influential and impassioned defences of freedom of speech and freedom of the press. His desire for freedom extended beyond his philosophy and was reflected in his style, which included his introduction of new words (coined from Latin and Ancient Greek) to the English language. He was the first modern writer to employ unrhymed verse outside of the theatre or translations.
While Milton’s impact as a prose writer was profound, of equal or greater importance is his poetry. He referred to his prose works as the achievements of his “left hand.” Like the illustrious literary forebears with whom he invites comparison, Milton used his poetry to address issues of religion and politics, the central concerns also of his prose. Placing himself in a line of poets whose art was an outlet for their public voice and using, like them, the pastoral poem to present an outlook on politics, Milton aimed to promote an enlightened commonwealth, not unlike the polis of Greek antiquity or the cultured city-states in Renaissance Italy. In 1645 he published his first volume of poetry, Poems of Mr. John Milton , Both English and Latin, much of which was written before he was twenty years old. The volume manifests a rising poet, one who has planned his emergence and projected his development in numerous ways: mastery of ancient and modern languages—Greek, Latin, Hebrew, Italian; awareness of various traditions in literature; and avowed inclination toward the vocation of poet. The poems in the 1645 edition run the gamut of various genres: psalm paraphrase, sonnet, canzone, masque, pastoral elegy, verse letter, English ode, epigram, obituary poem, companion poem, and occasional verse. Ranging from religious to political in subject matter, serious to mock-serious in tone, and traditional to innovative in the use of verse forms, the poems in this volume disclose a self-conscious author whose maturation is undertaken with certain models in mind, notably Virgil from classical antiquity and Edmund Spenser in the English Renaissance. When one considers that the 1645 volume was published when Milton was approximately thirty-seven years old, though some of the poems were written as early as his fifteenth year, it is evident that he sought to draw attention to his unfolding poetic career despite its interruption by governmental service. Perhaps he also sought to highlight the relationship of his poetry to his prose and to call attention to his aspiration, evident in several works in the 1645 volume, to become an epic poet. Thus, the poems in the volume were composed in Stuart England but published after the onset of the English Civil War. Furthermore, Milton may have begun to compose one or more of his mature works—Paradise Lost, Paradise Regained, and Samson Agonistes—in the 1640s, but they were completed and revised much later and not published until after the Restoration.
This literary genius whose fame and influence are second to none, and on whose life and works more commentary is written than on any author except Shakespeare, was born at 6:30 in the morning on 9 December 1608. His parents were John Milton , Sr., and Sara Jeffrey Milton , and the place of birth was the family home, marked with the sign of the spread eagle, on Bread Street, London. Three days later, at the parish church of All Hallows, also on Bread Street, he was baptized into the Protestant faith of the Church of England. Other children of John and Sara who survived infancy included Anne, their oldest child, and Christopher, seven years younger than John. At least three others died shortly after birth, in infancy or in early childhood. Edward Phillips, Anne’s son by her first husband, was tutored by Milton and later wrote a biography of his renowned uncle, which was published in Milton’s Letters of State (1694). Christopher, in contrast to his older brother on all counts, became a Roman Catholic, a Royalist, and a lawyer.

Milton’s father was born in 1562 in Oxfordshire; his father, Richard, was a Catholic who decried the Reformation. When John Milton, Sr., expressed sympathy for what his father viewed as Protestant heresy, their disagreements resulted in the son’s disinheritance. He left home and traveled to London, where he became a scrivener and a professional composer responsible for more than twenty musical pieces. As a scrivener he performed services comparable to a present-day attorney’s assistant, law stationer, and notary. Among the documents that a scrivener executed were wills, leases, deeds, and marriage agreements. Through such endeavors and by his practice of money lending, the elder Milton accumulated a handsome estate, which enabled him to provide a splendid formal education for his son John and to maintain him during several years of private study. In “Ad Patrem” (To His Father), a Latin poem composed probably in 1637-1638, Milton celebrated his “revered father.” He compares his father’s talent at musical composition, harmonizing sounds to numbers and modulating the voices of singers, to his own dedication to the muses and to his developing artistry as a poet. The father’s “generosities” and “kindnesses” enabled the young man to study Greek, Latin, Hebrew, French, and Italian.”

Little is known of Sara Jeffrey, but in Pro Propulo Anglicano Defensio Secunda (The Second Defense of the People of England, 1654) Milton refers to the “esteem” in which his mother was held and to her reputation for almsgiving in their neighborhood. John Aubrey, in biographical notes made in 1681-1682, recorded that she had weak eyesight, which may have contributed to her son’s similar problems. She died on 3 April 1637, not long before her son John departed for his European journey. Her husband died on 14 March 1647.”

In the years 1618-1620 Milton was tutored in the family home. One of his tutors was Thomas Young, who became chaplain to the English merchants in Hamburg during the 1620s. Though he departed England when Milton was approximately eleven years old, Young’s impression on the young pupil was long standing. Two of Milton’s familiar letters, as well as “Elegia quarta” (Elegy IV), are addressed to Young. (The term elegy in the titles of seven of Milton’s Latin poems designates the classical prosody in which they were written, couplets consisting of a verse of dactylic hexameter followed by a verse of pentameter; elegy, when used to describe poems of sorrow or lamentation, refers to Milton’s meditations on the deaths of particular persons.) Also dedicated to Young is Of Reformation (1641), a prose tract; and the “TY” of the acronym SMECTYMNUUS in the title of Milton’s antiprelatical tract of 1641 identifies Young as one of the five ministers whose stand against church government by bishops was admired by Milton.”

From 1620 until 1625 Milton attended St. Paul’s School, within close walking distance of his home and within view of the cathedral, where almost certainly he heard the sermons of Dr. John Donne, who served as dean from 1621 until 1631. The school had been founded in the preceding century by John Colet, and the chief master when Milton attended was Alexander Gill the Elder. His son, also named Alexander and an instructor at the school, did not teach Milton . Some of Milton’s familiar letters are addressed to the elder and the younger Gills, with whom he maintained contact, chiefly to express gratitude for their commitment to learning and to communicate to them his unfolding plans and aspirations. During his years at St. Paul’s, Milton befriended Charles Diodati, who became his closest companion in boyhood and to whom he wrote “Elegia prima” (Elegy I) and “Elegia sexta” (Elegy VI). They maintained their friendship even though Diodati attended Oxford while Milton was at Cambridge.”

On 9 April 1625 Milton , then sixteen years of age, matriculated at Christ’s College, Cambridge, evidently in preparation for the ministry. For seven years he studied assiduously to receive the bachelor of arts degree (1629) and the master of arts degree (1632). With his first tutor at Cambridge, the logician William Chappell, Milton had some sort of disagreement, after which he may have been whipped. Thereafter, in the Lent term of 1626, Milton was rusticated or suspended, a circumstance to which he refers in “Elegia prima.” After his return to Cambridge later that year and for the remainder of his years there he was tutored by Nathaniel Tovey. At Cambridge Milton was known as “The Lady of Christ’s,” to which he refers in his sixth prolusion, an oratorical performance and academic exercise that he presented in 1628. While the reasons for the sobriquet are uncertain, one suspects that Milton’s appearance seemed feminine to some onlookers. In fact, this theory is supported by a portrait of Milton commissioned by his father when the future poet was ten years old. The delicate features, pink-and-white complexion, and auburn hair, not to mention the black doublet with gold braid and the collar with lace frills, project a somewhat feminine image. Another portrait, painted while he was a student at Cambridge, shows a handsome youth, appearing somewhat younger than his twenty-one years. His long hair falls to the white ruff collar that he wears over a black doublet. His dark brown hair has a reddish cast to it, and his complexion is fair. Apart from his appearance, Milton may have been called “The Lady of Christ’s” because his commitment to study caused him to withdraw from the more typical male activities of athletics and socializing.”

By 1632 Milton had completed a sizable body of poetry. At St. Paul’s he had translated and paraphrased Psalms 114 and 136 from Greek into English. Throughout his Cambridge years he composed many of the poems in the 1645 volume: the seven Latin elegies (three verse letters, two funeral tributes, a celebration of spring, and an acknowledgment of the power of Cupid), other Latin verse, seven prolusions, six or seven sonnets (some in Italian), and numerous poems in English. The works in English include “On the Morning of Christ’s Nativity,” “The Passion,” “On Shakespeare,” the Hobson poems, “L’Allegro,” and “Il Penseroso.”

The circumstances of composition of Milton’s Nativity poem, classified as an ode, are recounted in “Elegia sexta,” a verse letter written to Diodati in early 1630. To his close friend Milton confided that the poem was composed at dawn on Christmas day in December 1629. In “Elegia sexta” Milton summarizes the poem, which, he says, sings of the “heaven-descended King, the bringer of peace, and the blessed times promised in the sacred books.” Likewise, the Christ child “and his stabling under a mean roof” are contrasted with the “gods that were suddenly destroyed in their own shrines” (translation by Merritt Y. Hughes). “On the Morning of Christ’s Nativity” is divided into two sections, the induction and the hymn. The induction is composed of four stanzas in rime royal, a seven-line stanza of iambic pentameter; the hymn consists of twenty-seven stanzas, each eight lines long, combining features of rime royal and the Spenserian stanza. The poem develops thematic opposition between the pagan gods—associated with darkness, dissonance, and bestiality—and Christ—associated with light, harmony, and the union of divine and human natures.”

In addition to the contrasting themes, the poem addresses two of the major paradoxes or mysteries of Christianity: the Virgin Birth and the two natures of Christ. By using oxymoron or succinct paradox—”wedded Maid, and Virgin Mother”—to describe Mary, the poet suggests the mystery of the Virgin Birth, whereby Mary retains her purity and chastity despite impregnation by the godhead. To describe the combination of two natures in Christ, the poet resorts to biblical allusion, particularly Paul’s letter to the Philippians (2:6-11), which recounts how the Son emptied himself of his godhead in order to take on humanity. Paul states that the Son having assumed the form of a servant or slave was obedient unto death on the cross. In the Nativity poem Milton indicates that the Son, while customarily enthroned “in Trinal Unity,” has “laid aside” his majesty to undergo suffering. By such biblical allusion Milton interrelates the Incarnation and Redemption. Paradoxically, Milton affirms that the heroism of the Son is attributable to his voluntary humiliation, so that, in effect, his triumph over the pagan gods is anticlimactic. Significantly, in a poem about the birth of the Savior, Milton foreshadows the death of Jesus, the consummate gesture of voluntary humiliation. The manger is described as a place of self-sacrifice, where the light from the star overhead and the metaphoric reference to the fires of immolation converge: “secret altar touched with hallowed fire.”

Not to be overlooked is Milton’s use of mythological allusions to dramatize the effect of Christ’s coming. Thus, the Christ child is characterized as triumphant over his pagan adversaries, one of whom, Typhon, is “huge ending in snaky twine.” Typhon, the hundred-headed serpent and a leader of the Titans, rebelled against Zeus, who cast a thunderbolt against him. After his downfall he was incarcerated under Mount Aetna and tormented by the active volcano. Such myths were typically related to the Hebraic-Christian tradition in numerous ways: in illustrated Renaissance dictionaries and encyclopedias, editions of Ovid’s Metamorphoses, and other lexicons known to Milton . Indeed, early biographers report that Milton himself was planning a similar compilation and interpretation of myths, though this work was never completed. Traditionally, Typhon, his revolt against Zeus, and his subsequent punishment are analogues of Satan’s rivalry of the godhead, of his downfall thereafter, and of his everlasting torment in the fires of Hell. Thus, the triumph in the Nativity poem looks backward to the War in Heaven while anticipating the final conquest over Satan foretold in the Apocalypse. The appearance of Typhon as a multiheaded serpent is further correlated by Renaissance commentators with the biblical figure of Leviathan, the dragonlike monster associated with Satan in interpretations of the Hebraic and Christian scriptures. At the same time, the Christ child is likened to the infant Hercules, who overcame the serpent that attacked him in his cradle. The foregoing examples typify how Milton’s erudition and literary imagination enabled him to pursue and synthesize a wide range of mythological and biblical allusions.”

Illustrated Renaissance lexicons, along with manuals of painting, which guided artists and authors in the use and significance of visual details, may be employed to interpret other allegorical figures in the Nativity poem. Thus, at the birth of the Savior, the poem recounts how “meek-eyed Peace” descends, “crowned with Olive green,” moved by “Turtle wing,” and “waving wide her myrtle wand.” Such visual details suggest the peace and harmony between the godhead and humankind when the dove returned with the olive branch after the Deluge and when the Holy Spirit, figured as a dove, descended at the baptism of the Lord.”

A dominant feature of the Nativity poem is the frequent reference to pagan gods, many of whom are included in the epic catalogue in book 1 of Paradise Lost (1667). One such figure is Osiris, whose shrine in the Nativity poem is described: “with Timbrel’d Anthems dark / the sable-stoled Sorcerers bear his worshipt Ark.” This description suggests a funeral procession, thereby dramatizing the causal relationship between the birth of Christ and the death of the pagan gods. Additionally, the phrase “worshipt Ark” calls attention to the ark of the Covenant, associated with the tablets of law from the Old Dispensation. Christ, however, rewrites the law in the hearts of humankind, a process to which Milton’s poem alludes. The Chosen People of the Old Dispensation thus anticipate the faithful Christian community centered on Jesus. The poem presents the first such community when the holy family, shepherds, angels, and narrator unite in their adoration of the Christ child. The narrator endeavors to join his voice to the chorus of angels so that his sacred song and devotional lyrics are harmonized with theirs. He also informs us of the imminent arrival of the Magi, who will enlarge the community of worshipers and chorus of praise. Characteristically, the poem highlights unity and harmony between humankind and the godhead, earth and Heaven, the Old and New Dispensations.”

What also emerges from the Nativity poem is an overriding awareness of Christian history, which is both linear and cyclical. As time unfolded, Old Testament events were fulfilled in Christ’s temporal ministry. Thereafter, the faithful community looks toward the Second Coming. Along this linear disposition of time there are recurrent foreshadowings and cyclical enactments of triumphs over God’s adversaries. Like the Apocalypse, the Nativity poem foresees that the ultimate defeat of Satan, having been prefigured in numerous ways, will be one of the climactic events of Christian or providential history.”

Despite its early date of composition, the Nativity poem foreshadows many features of Milton’s major works: the allusions to mythology and their assimilation to the Hebraic-Christian tradition, the conflict between the godhead and numerous adversaries, the emphasis on voluntary humiliation as a form of Christian heroism, the paramount importance of the redemptive ministry of the Son, and the Christian view of history.”

Probably intended as a companion piece to the Nativity poem, “The Passion” was written at Easter in 1630. Only eight stanzas in rime royal were composed, presumably as the induction. Appended to the unfinished work is a note indicating that the author found the subject “to be above the years he had, when he wrote it, and nothing satisfied with what was begun, left it unfinished.” The eight stanzas clarify Milton’s unfulfilled intent: to dramatize more fully the humiliation of the Son, “sovereign Priest” who “Poor fleshly Tabernacle entered.”

“On Shakespeare,” Milton’s first published poem, was composed in 1630 and printed in the Second Folio (1632) of Shakespeare’s plays, where it was included with other eulogies and commendatory verses. Milton’s poem, a sixteen-line epigram in heroic couplets, was included perhaps because of the intercession of his friend and eventual collaborator Henry Lawes, a musician and composer, who wrote the music for Milton’s Comus (1637) and probably for the songs of “Arcades” in Milton’s 1645 Poems. Milton celebrates his friend’s musical talent in Sonnet XIII. Milton’s poem echoes a prevalent opinion evident in other commendatory verses—that Shakespeare, the untutored genius with only a grammar-school education, was a natural poet whose “easy numbers flow” in contrast to “slow-endeavoring art.” Perhaps the implied contrast is between the spontaneity of Shakespeare and the more deliberate and learned composition of Ben Jonson. The foregoing contrast is explicit in “L’Allegro,” where Shakespeare’s plays, the products of “fancy’s child” who composes his “native Wood-notes wild,” are contrasted with Jonson’s “learned Sock.” The reference to Jonson calls attention to the sock or low shoe worn by actors during comedy, as well as to the learned imitation of classical dramaturgy practiced by Jonson, who had a university education. Ironically, Jonson’s commendatory poem on Shakespeare, included in the First Folio (1623) and republished in the folios thereafter, is the most renowned of the lot. It cites the excellence and popularity of Shakespeare as a dramatist despite his “small Latin, and less Greek,” an allusion, no doubt, to his lack of education beyond grammar school. More to the point, Jonson used the metonymy of the sock to appraise Shakespearean comedy as nonpareil: “when thy socks were on / Leave thee alone.” Therefore, Milton may have appropriated but adapted the allusion in order to contrast the learned and spontaneous playwrights, respectively Jonson and Shakespeare.”

Central to the poem is Milton’s recognition that an erected monument, possibly even the Stratford burial site with its bust of Shakespeare, is unsuitable to memorialize the playwright’s unique genius. Ultimately, Milton argues that Shakespeare alone can and does create a “livelong Monument”: his readers transfixed by wonder and awe. So long as his works are read, his readers will be immobilized when confronting his transcendent genius. To be sure, the inadequacy of stone or marble monuments to perpetuate one’s memory is one major theme in Shakespeare’s sonnets; a complementary theme is the permanence of literary art despite the mutability and upheaval in the human condition. Milton integrates both themes from Shakespeare’s sonnets into his poem, perhaps to emphasize that the unique achievement of Shakespeare must be memorialized by the words and ideas of none other than the master poet and dramatist himself. Despite his admiration for Shakespeare, Milton in his prose and poetry explicitly referred to the playwright only three times: in Shakespeare “L’Allegro,” and Eikonoklastes. Despite the paucity of explicit reference, commentators have, nonetheless, sought to identify verbal parallels between the works of Shakespeare and Milton . Though such parallels or apparent echoes abound, they are inadequate to establish source or influence. Virtually identical similarities may be adduced between the works of Milton and the writings of other Elizabethans.